HomeBase Build 1 NEwsletter

THE HOMEBASE LAB NEWSLETTER #1

AUGUST-OCTOBER 2011

– The HomeBase Newsletter #1 –

– © HomBase LAB 2011 –

TABLE OF CONTENTSFOREWORD

by Anat Litwin

INTRODUCTION by Francesca Romana Ciardi

ABOUT HOMEBASE

HOMEBASE BUILD ARTISTS-IN-RESIDENCE BIOGRAPHIES

STUDIO # 2 > Loudwig van Ludens

STUDIO # 3 > Isabelle Gelot

STUDIO # 4 > Adrian Brun

STUDIO # 5 > Bas Kools

STUDIO # 6 > Francesca Romana Ciardi

STUDIO # 7 > Jennifer Morone

STUDIO # 8 > Angela Stauber

STUDIO # 9 > Elske Rosenfeld

STUDIO # 10 > Todd Lester

STUDIO # 11 > David Fire

STUDIO # 13 > Michelle Leddon

STUDIO # 14 > Kate Fulton

STUDIO # 16 > Alina Shmukler

STUDIO # 18 > Anat Litwin

THE HOMEBASE BUILD MICROCOSM AND COMMUNITY

THE HOMEBASE BUILD VOCABULARY


FOREWORDAnat Litwin, artistic director and founder.

After five years of nomadic HomeBase projects, taking place in different neighbor-hoods in New York City and in Berlin, we are in the process of building here, at the old brewery in Berlin, the HomeBase LAB as a home for HomeBase.

Our vision is to create a year-round artist residency – a cultural and research center that explores the meaning of Home as a window into questions of identity, challeng-ing the role of contemporary art in society. The HomeBase LAB will function as our headquarters, generating groundbreaking art, talent, knowledge, expertise, skills, cultural and social awareness, while cultivating a meaningful artistic community.

At the center of this home are 16 live-in studios, a kitchen, a salon, a library, a think tank space, a screening room, a study room, a garden, a greenhouse, and the Ignatz microbrewery. These facilities enable the integration of art and life as a multi-layered experience, linking our activity at the LAB to the past history of the building as both brewery and FDJ youth hostel.

Summer 2011 has filled the HomeBase LAB with a new pulse, and with a challenging, yet invigorating experience. The two months long HomeBase BUILD residency which culminates today, marks the transformation of the space into the HomeBase LAB – not as a conceptual idea, but rather as a visceral manifestation in which 16 inter-national artists-in-residence from different walks of life have been living, working, dreaming, eating, thinking, learning, challenging, experimenting and creating.

Navigating between private and communal, art and life, political and poetic, utopia and disutopia has been our daily bread. It has left a trail of crumbs to follow. Walk-ing down the red carpet along the brewery’s corridor through the studios, a world unfolds: the sensual smell of a barley brewing - the artistic resurrection of Ignatz and the re-appropriation of the brewery / a black forest echoing eden behind closed doors / a cave in which new reflections are formed and substance is liquidated / the warm cocoon of threaded dreams / the mythical passing of time / the acquiring of language / the gathering of an adopted family, partners for a journey / tracing urban encoun-ters and fleeting moments in time / an imaginary run through the Pankow neighbor-hood with a red flag / music filling up the world, body ‘playing’ in space / home in cyberspace and the layered residue of everyday life, pasted as a collage / poetic interventions in architecture and the questioning of ‘safe’ / a library of knowledge / a tank in which to think / the envisioning and mapping of ideas of worldwide change.

Exiting the space out back into the real world, a little corner of paradise awaits - the HomeBase garden and greenhouse with the soil of our KunstKompost – the fertile grounds in which we grow, awake.


We hope to continue to build and keep our lights on at the LAB - to investigate and illuminate important cultural questions. We hope to shine, from here to Jerusalem, where our next HomeBase VI project will take place, and on into the world in an ex-pansive movement. Join us. A heartfelt thanks extended to dear companions, who helped build HomeBase BUILD with true dedication, insight and heart – Nikki, Bas, Francesca, Vanessa, Jen, Kate, and to the HomeBase BUILD Artists for generosity, honesty and meaningful exchanges.

INTRODUCTIONFrancesca Romana Ciardi, editor

This newsletter has been published in occasion of the completion of the HomeBase LAB first Artist-in-Residence programme: the HomeBase BUILD.

Hosted in the historical setting of a former 19th century Engelhardt brewery in the district of Pankow, the HomeBase LAB is a unique place with a special mission at its heart: to explore the notion of home as the foundation of humanity; to experiment in meaningful contemporary urban living, and to foster interconnectdness in society through the arts.

During the two month-long residency, 16 international and interdisciplinary artists, designers, social entrepreneurs and original thinkers lived on site developing indi-vidual site-specific projects in their live-in studios, whilst also engaging in a creative communal living; in a diverse educational and cultural programme, and in a “hands on” collaboration dedicated to building different aspects of the HomeBase LAB.

This booklet is a reflection on, and documentation of, these extraordinary two months. In its pages you will find a collection of texts and images which map out and illustrate the residents’ unique site-responsive creations and journeys, and thoughts about their communal experiences as members of the HomeBase LAB `microcosm’. It also includes a vocabulary made of words and meanings inherent to the fabric of the notion of home, especially developed by the HomeBase BUILD Artists-in-Residence to wrap up their intellectual and creative engagement with their surrounding envi-ronment. Finally, you will also find a special contribution by our HomeBase BUILD “virtual” Artists-in-Residence Todd Lester, Founding Director of freeDimensional. I hope you enjoy this very special first issue of the HomeBase LAB newsletter!


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HOMEBASE BUILD

ARTISTS-IN-RESIDENCE

BIOGRA-PHIES

HomeBase Build artists and social entrepreneurs have been invited to participate in a two month long

residency focused on creating work about home while building different aspects of the HomeBase LAB.

– HomeBase BUILD Artists-in-Residence biographies –

Loudwig van Ludens–Luxembourg> cultureinside.com/25/section.aspx/Artist/Ludens/

ViewGallery/3746/Loudwig van Ludens is a multidisciplinary artist and entrepreneur, working in paint-ing, video installation, sculpture, and performance. He was born on Alpha Centaury in Belgrade on July 7 1962, and emigrated as a young child to Germany. By the age of 16 he was sent back to Yugoslavia and was later drafted by the People’s Army of Yugoslavia. In 1983 on account of political differences with the education system, he rejected public education, and continued private studies in various local and interna-tional art studios and workshops with sculptors, painters, blacksmiths, stonemasons, stained glass studios etc. He traveled extensively and moved to Luxembourg in 1988, where he founded, directed and curated several art venues including the Gallery Philo’soff, a venue that combined visual art and live concerts, the Artspace Octav, a venue for theater and stop motion film, and from 1995 to 2009 he co-founded Metaph Artworks, a company offering services of graphic and interior design. In 2008 he moved to Berlin. In recent years his work has been focusing on anamorphic photos and videos in which iconic architectural settings are transformed and distorted into abstract forms, reflecting on hidden layers of perception. His work has been featured in venues such as the Goddess festival at Woodstock and the Salomon R. Guggenheim Museum in NYC.

Isabelle Gelot–France> cargocollective.com/isagelot

I am a French set designer based in London where I graduated from Central Saint Mar-tin’s Performance Design and Practice, working in collaboration with professionals from the fields of theatre, opera and dance. I spent 6 months traveling around South East Asia documenting my trip in drawings, writings and pictures. I use several media such as drawing, painting, model-making, craftwork and collages. I am passionate about literature and theatre, being as well a performer, and I work a lot with the body in its limit, the space in its proprieties and the object as the intermediate. I tend to apply a personal identity to my work in order to create my universe, and to touch the audience by revealing emotions.

Adrian Brun–Argentina/The Netherlands> adrianbrun.com

Adrian Brun – Born in Bs. As. Argentina, lives and works in Amsterdam. Graduated Bachelor Fine Art (BFA), HKU Utrecht, The Netherlands (2004). For the past years I have been trying to develop a sort of individual sculptural language that visualizes the physical and spiritual fascination that I have with human biology, sexuality as well as the wonder and mystery of the reproductive system, with a fundamental and


universal subject matter. My work, which includes installations, videos, photography and performances, has acquired depth through a comprehensive study process. It has been personalized by my own knowledge and understanding of the subject and by my intuitive sensitivity for form and material. Although it has a quiet clear anatomical and organic kernel, there is a second or rather a parallel layer in it, which deal more with universal matters, such as ordinary life and how we all function or often malfunction as individuals as well as within society. Other Projects: Co-founder, Curator at Room-Service Project Space, Amsterdam. Contributor at Das Bnale Ding Project Amsterdam.

Bas Kools–The Netherlands> baskools.com > localintelligence.eu

Design for me is about people, how they live, think and do. Since I finished my Master in Design at the Royal College of Art in London (2007) I prefer to see design as a col-laboration. A collaboration with experts forming a team to innovate systems, situa-tions and services in a social way, as well as questioning everything to find the real problem and increasing the quality of life by changing the daily. It is design but with a social innovation at its core and with a main interest in the systems, situations, and services people find themselves in. My focus is to find out how we can design new ways of living and working together. Through topics like public space, education, policy making, and business innovation, design is a service that has to rediscover its position in society. A designer has to be a person with the ability to redefine the relations between situations, systems, objects, materials and services in our society. Therefore I am a designer, a person that has the ability to think about objects, materi-als, situations and systems from a different perspective, to ask the right question to solve or to provoke, and ultimately to offer a solution in any possible way.

Jennifer Morone–USA> jennifermorone.com

Jennifer Morone is a Berlin based American artist, born in New Jersey in 1979. She studied at Pratt Institute in Brooklyn, SACI International in Florence and received her BFA from SUNY Purchase, NY in 2001. Shortly after she moved as a challenge to Paris where she remained for 7 years. In Paris she assisted the American sculptor Gregory Ryan, in the foundry and office creating monumental sculptures in bronze and alumi-num. In 2008 Jennifer moved back to the USA and worked for PourHouse, an LA based foundry and wrote for the environmental based website www.ecomatters.com. Since 2009 she returned to Europe and is currently based in Berlin. Recent projects include “Working Title” at the cca in Warsaw, Poland and as well at Akademie Schloss Soli-tude in Stuttgart, Germany. “Echos of Man”, Smart Urban Stage, an event series or-ganized by the car manufacturer smart and focuses on the theme “Zukunft der Stadt”.


Angela Stauber–Germany> angelastauber.de

Angela Stauber completed her Master of Fine Arts in 2005 at the Academy of Fine Arts in Munich, where she studied with Sean Scully. Based mainly out of Berlin and Munich, she has received grants that have led her to the United States, Romania and Great Britain. Since 2006, she has worked as a lecturer at the Ludwig-Maximilians-Universität in Munich, where she teaches painting and drawing. Her work has been shown in several group and single exhibitions, including at the Zweigstelle Gallery and the Kolbe Museum in Berlin as well as at the Florian Walch Gallery in Munich. Her work has also been shown at Preview Berlin and at Art Karlsruhe. In 2011, she took part in several international group exhibitions including one in Seoul, South Korea.

Elske Rosenfeld–Germany> elskerosenfeld.net

I explore different methodologies – installations and video, writing and talks, workshops and events – to refocus the diverse historical positions of criticality and dissidence within the state socialism of the former Eastern bloc and, in particular, the short revolutionary period of 1989/1990. Using my own biographical experience as well as other materials and stories that often brush up against the dominant represen-tations of those histories, my works aim at creating constantly reassembling commu-nities of discussion and contestation though which the obscured political potentials of those pasts might re-emerge. I live and work in Berlin and am currently a partici-pant in the PhD in Practice program at the Academy of Fine Arts in Vienna.

David Fire–Israel> tedermusic.com

> metacafe.com/watch/734464/soundscapes> youtube.com/watch?v=J2X7ne5tPs4

In 1995 I decided to spend a year in the African Academy of Music and Arts near Ac-cra, Ghana. World Master Mustaffa Tettey Adi was still teaching at that time, attract-ing drummers and composers from all over the world. As a classically trained pianist, I was trying to notate the rhythms we studied. This has failed time after time, because every time the “same” piece was played, it was significantly different. During one lesson that was held outdoors in nature, huge iguanas came quite close to us and froze, apparently listening to the drums. The teacher claimed it hypnotizes them. As he resumed playing I realized for the first time that he is following no deterministic linear score, but rather a generative syntax, a secret language in which rules limit ran-domness. The need to study computer music became urgent. I enrolled in the Royal Conservatory in Den Haag, and started the research that keeps me fascinated till this day, a research commonly known as Algorithmic composition.


Michelle Leddon–UK> imdb.fr/name/nm3326294 > vimeo.com/user2165468

> unifrance.org/annuaires/personne/360876/michelle-leddonMichelle Leddon is a director, writer and artist living and working in Paris for the past last 7 years. Her projects consists of short films, poetry, prose and are mostly works of auto fiction. She holds an MFA from Columbia University in New York. Her awards and distinctions include a DGA award, a CMJ award, grants from Polo Ralph Lauren, Brooklyn film fest awards, among others. She is currently working on a series of static and video collages at the HomeBase LAB in Berlin.

Kate Fulton–Australia> wikipedia.org/wiki/Artist_Funded

Kate Fulton is an Australian artist based in Berlin whose practice employs the poet-ics of abstraction to create spatial compositions, architectural interventions, object art and installation. Exploring the subtle activation of space, and building into our perceptual awareness a punctuation of small gestures, lost objects and disorienting moments, she creates works that decline to immediately reveal themselves. Prior to relocating to Berlin in 2008, Kate established her practice and exhibited consistently for over 10 years in Australia. In recent years she has exhibited in Auckland, Seoul, Milan, Berlin and New York. Kate received a Bachelor of Fine Arts from Deakin Univer-sity, 1994, a Graduate Diploma of Visual Art from The Victorian College of the Arts, 2001 and held a Gertrude Contemporary Studio Residency from 2004-06. She initi-ated and developed the 1st Edition of ‘theMAP’ of Artist Run Spaces in Melbourne and is also the founding author of the ‘Artist Funded’ logo/concept.

Mauricio Lizarazo–Colombia> mauriciolizarazo.com > pachamamaculture.com

> soundcloud.com/kall-parecordsMauricio Lizarazo is a Berlin based entrepreneur, producer and artist who has dedi-cated many years of his life working within the Entertainment and Music industries internationally. Born in Bogotá, he started his first music band during his school years. In 2004, Mauricio founded Pachamama Culture focusing on the integration of Latin Al-ternative music into the European and U.S.market. Since than Mauricio has managed and produced different music artists. Pachamama Culture was founded primarily as a concert management agency and has developed into a full service venture, including integrated marketing, booking and music management for Latin Alternative artists. Currently, Mauricio represents El Sie7e, La Severa Matacera, and Papaya Republik internationally and has been associated with other acts like Panteón Rococó, Mald¬ita Vecindad, Die Toten Hosen, Culcha Candela, Chico Trujillo and Systema Solar among others. Mauricio earned his master’s degree from New York University (NYU) combin-ing extensive coursework within the MBA program at NYU Stern School of Business and specializing in Entertainment, Media & Technology (EMT). Consequently Profes-


sor Al Lieberman, Executive Director of the EMT Program at the Stern School of Busi-ness, New York University, invited Mauricio to co-lecture the seminar ‘The Business of Media and Entertainment in Latin America and Europe’.

Anat Litwin–Israel/USA> anatlitwin.com

> homebaseproject.com > homebaseberlin.comAnat Litwin is a Brooklyn based Israeli /American artist and curator working in the medium of paper cut-outs, installation, and public art. She received her BFA from the Bezalel Academy of Art and Design, Jerusalem, Israel in 2001, and her MFA in 2005 from Hunter College in New York, Department of Combined Media with a focus on Public Art. She is the recipient of the American-Israeli award for outstanding artists in 2001 and the Mandel award for young artists. Her work has been exhibited in various venues in Europe, Israel and New York, and is included in several private collections. Anat has worked as the Director of the Makor Artists-in-Residence program and Makor Gallery of the 92nd Street Y in NYC, and then became the Associate Director and senior fellow of LABA at the 14th Street Y. With this rich experience she founded in 2006 in her own studio The HomeBase project which since has been featured in notable publications and art venues such as the New York Times, New York Magazine and VOLTA ART FAIR. HomeBase, an art project on its own, combines Anat’s passion and interest for cultivating contemporary art within a concrete communal, urban, and spacial setting, while evoking a critical cultural and social dialog.

Alina Shmukler–Ukraine/Israel> alinashmukler.com

I use oil on canvas, “sculpting” nostalgic moments using thick brush strokes of layered oil colors on canvas. I’m exploring issues such as memories, dreams, history and the meanings of time. In my paintings there are cut outs, isolated fragments/moments placed in a fantastic, mysterious, sentimental and romantic context. Oil as the mate-rial has a great part in my works. It is the classical material which contains a historical collective memory and meaning. For me it symbolizes the history, the time that is passing and the layers that time creates and covers at the same time. Oil maintains the memory of layers.

Francesca Romana Ciardi–Italy/UK> francescaromana.net > mpa-b.org > theoralsyndicate.wordpress.com

Francesca Romana Ciardi is a Berlin/London-based performer, independent curator and producer working in the fields of Live and Mixed-Media Arts, site-specific Per-formance and Theatre. She is a collaborator of the HomeBase LAB; one of the found-ers and organisers of the Month of Performance Art and member of the video-art collective The Oral Syndicate.


Todd Lester–USA> freedimensional.org > artsrightsjustice.net

> creativeresistancefund.orgTodd Lester is the founder of freeDimensional (fD) and more recently the Creative Resistance Fund. Before launching freeDimensional he served as Information & Advo-cacy Manager for the International Rescue Committee in Sudan. Todd holds a Masters of Public Administration from Rutgers University and is a graduate of the Refugee Studies Centre’s Summer School in Forced Migration at Oxford University. Todd is engaged (thinking/writing/convening) at the intersection of art for social change; horizontal network as institutional form; culture funding; cultural exchange & diplo-macy; artist mobility & residency programs; and the role of the artist in policymak-ing. As such, Todd is an active advisor to several residencies, artist-led projects and networks – Res Artis, Gardarev, Sangam House, Pirogue Collective of Gorée Institute, Guapamacátaro Interdisciplinary Residency in Art and Ecology, HomeBase Project, Esthétique & Handicap, the Flux Factory’s diversity committee, and a planning com-mittee for the Rockwood Leadership Institute’s Arts & Culture Fellowship – a regular contributor to The Art & Democracy Project, nominator to the Prince Claus Fund for Culture & Development, and serves as a Senior Fellow at the World Policy Institute. In 2006, Todd received the Peace Corps Fund Award for his work starting freeDimension-al; was named ‘Architect of the Future’ by the Waldzell Institute in 2008; and selected as a delegate to The Opportunity Agenda’s 2011 Creative Change summit.

Amongst other activities/initiatives Todd Lester has also:- helped find United States selection partners for the World Event Young Artists

(http://www.ukyoungartists.co.uk/event/weya-2012)- helped the artists Swoon and Paula Segal with community introductions in Sao Paulo,

Brazil for Encampment Ersilla, a project they are doing at the Sao Paulo Museum of Art (MASP) (http://dedentroedefora.com/en/acampamento-ersilia/)

- helped to conceive the intellectual framework for a conference with the Triangle Net-work called Networked: Dialogue & Exchange in the Global Art Ecology, which takes place in London, November 26-27 (http://www.thetriangleconference.org/)

- helped to identify staff and artists for HomeBase V as well as speaking on both the opening and closing panels for HomeBase BUILD http://www.homebaseberlin.com/interregnum--blog-by-todd-lester.html

He also serves as an advisor and idea-generator for the inaugural Rockwood’s Na-tional Fellowship for Leaders in Arts and Culture (http://rockwoodleadership.org/artsocialchange).



HOMEBASE BUILD

ARTIST-IN-RESIDENCE

STUDIOSHomeBase Build Studios – illustrate the work of

each individual artist resulting from the residency, focusing on the art work and creative process.

THULESTRASSE 54 PANKOW, 13189, BERLIN

> The HomeBase LAB

Ca. 1895Foundation of the Berliner Exportbrauerei AG Berlin-Pankow

1905Brauerei Ernst Engelhardt Nachf., Berlin-Pankow

1946 Engelardt Brauerei AG, Division Pankow, under trusteeship

1949 VEB Engelhardt Brauerei, Berlin-Pankow

1950Closing of the brewery and leasing of the compound

to the FDJ (Freie Deutsche Jugend)

1990 The space is evacuated and remains deserted after

the fall of the Berlin Wall, for almost 20 years

2007 LRC Management purchases the building

2010 HomeBase V Project ands at Thulestrasse 54

March 5th 2011Launching Ignatz Bier, a site-specific project of HomeBase

August 2011HomeBase BUILD Artist-in-Residency program,

building the HomeBase LAB

– HomeBase BUILD Artists-in-Residence studios –


STUDIO #2> Loudwig van Ludens–Luxembourg

Cavexa ReflexaAnamorphic installation

Loudwig van Ludens, is building an anamorphic room installation at the HomeBase LAB - Berlin. Inspired by The parable of the Cave—an allegory used by the Greek phi-losopher Plato in his work The Republic to illustrate “the human nature in it’s educa-tion and strive for education,” Loudwig is investigating this allegory, and what he calls the Relativity of Perception, using flexible and deformed mirrors and their reflec-tions combined with projections of Anamorphic videos on a wall through a membrane. The room installation, contains diverse objects as: mirrors, photographs, membrane frame, anamorphic video, drawings, sounds, reflections and shadows.

The installation offers the viewer options for interactive exploration of anamorphosis, by changing the shape and arrangement of some mirrors and light setting to create its own projections and anamorphic reflections. “As Baltrusaitis wrote “Anamorphosis is not an aberration where the reality is subjugated by the mind’s eye. It is an optical trick where the apparent eclipses the real”. With Loudwig van Ludens, this eclipse is instead an unveiling, a revealing. The ideology elicited by every image does not stop reality intruding, as an ironical mirror image.” (Jean Sorrente in “Nos Cahiers”, 2000)

Loudwig van Ludens: Cavexa Reflexa, 2011


STUDIO #3> Isabelle Gelot–France

HOMysticalityDiagrams, collages, models, installation wool and mixed media

“If we are to understand myth, we have to discard 20th century common sense and find a thread through a chaotic mass of details.” Levy Strauss

What notion do we have of myth nowadays? We look at it as moral or epics narrative that only relate to past times, dead languages and old traditions. In the 21th century, I think we practice ritual everyday, it is simply a different type of ritual, which we can call modern ritual. Now, the myth itself might only have been forgotten because of the lack of recording of those rituals or event worthwhile relating to.

According to Levy Strauss it is an approach that you have to make, to try and under-stand or evaluate the myth. What if you knew it already but didn’t look at it in its real status and value? Going back to the myth in its initial form, it is considered as a narrative, a plot, a story or even just the act of speaking. It is a process started with a departure, developed in an initiation and ended with a return. Is it the mystical nature of my own experience here which has inspired me, and made me develop this work? I have reason to believe that myth is inhabiting my character, through the act of per-forming rituals, inventing stories, or personifying objects as “mythopoeic thoughts”, things becoming person…

My researches started with the idea of understanding the myth, but also grabbing a mythic atmosphere, through collages, put one’s mind in a surrealistic world, and atmosphere of dream. My process evolved constantly through my own journey, and an installation of gigantic thread manipulating took birth in my studio, invading my everyday moves, and my night dreams.

Through this installation, I want to take you on a travel through a nurturing atmos-phere favorable to inner dreams.

Make you step into subnormality, experience dreams, fantasies, unfulfilled desires. I create a dreamy landscape and catch everyday “mysticality” in order to make people experiment it, in their individual way, through sensations and intimate exploration.


Construction Installation, 2011

Myth Diagram, 2011


STUDIO #4> Adrian Brun–Argentina/The Netherlands

Wilkommen!Video Installation, mixed media

The struggle of learning a new language while trying to adapt to a new place is the central piece in this project.

As I came to Berlin a couple of moths ago with the purpose of learning the German language, I have decided to merge both the German language studies and my current project/research at HomeBase. This ‘all in one’ project deals with matters such as identity, the urge to belong, the need of being accepted, the struggle, communica-tion, miscommunication and especially the frustration of it all.

All these aspects of adapting and learning ‘how to fit in’ will somehow materialize along the entire process into a physical final form.

A work/research, as a result of the experience of trying to somehow be at ‘Home’.

Video still from Wilkommen!, 2011


STUDIO #5> Bas Kools–The Netherlands

Think Tank RoomText, Thoughts, Visualization

With a main interest in the systems, situations, and services people find themselves in, my focus is to find out how we can design new ways of living and working together. Through topics like public space, education, policy-making, and business innova-tion, design is a service that has to rediscover its position in society. A designer has to be a person with the ability to redefine the relations between situations, systems, objects, materials and services in our society. Therefore I respond to what I see, hear and feel, offer solutions, alternatives and sometimes provoke with a comment. With a background in product design (MA Royal College of Art) and the making of objects, I developed a fascination for processes and the systems that create the object: from material to an object being used in daily life.

These processes involved in the making of objects, refer to a complexity of relations between people, materials and techniques that we find in everything around us, as well as the systems we live in and the processes that we go through, an experience that can be designed. Many of the design projects I have created relate to this experi-ence of processes and systems, to play with diverse approaches, make the system to disappear, to provoke, to improve or support. We feel the presence of these invis-ible structures around us but how do we understand them and relate to them? From a focus on the relation of people and objects, my interest shifted to the relation applied to situations in the public realm where objects became tools to interact with, within complex situations and relations.

I also found important working together with local authorities, business and inhabit-ants in researches aimed at innovating the life in that location, such as for example a research towards the meaning of healthy living and new ways to create awareness about the relation between the different aspects of health, and the private and public spaces of a small city in Hungary. Also the development of a public square in Kampen, a city in The Netherlands, in collaboration with the public authorities introducing business insights to the organisational structure of the authorities itself, in order to support the public space with an engaging and sustainable approach. And finally the development of the scenario generator, a role playing game for policy makers for the province of Overijssel in the Netherlands where credibility is measured from the dif-ference between personal and work related values.

The living, working, travelling and spending time in the public realm as a topic in proactive research grew into an interest into the regulations of the processes that are taking place in spaces and organisations. The implementation and investigation


on practical situations about how research can lead to the rethinking of the thinking about the future. How is it that we are living the way we live today, can we become more aware of the way we live and the complexity our lifestyle demands? Questioning is the answer to the question. With my fascination into how people live in the systems around us I initiated a research project called The Future of Utopia. I have started working on a publication about how western Europeans work towards the future, what function idealism has today and in what way it is present in our society. During this research the line of politics, and design started to become one.

The designers of our world are policy makers. My role is, being a hybrid between design, business design and policy-making, to take design tools, experience and find ways of working that connects worlds, in order to enable them to learn form each other.


STUDIO #7> Jennifer Morone–USA

Eco-tastrophy model #2Factory farming: slaughterhouse

Cardboard and metal

„Beef, it’s what’s for dinner“, the advertising slogan that entered the American house-hold in 1992 helping to bring meat to the dinner table everyday, and soon for every meal.

Our taste for flesh has reaped the surface of the earth in order to feed the animals that reach our plates. The success of industrialized farming practices has enabled populations to grow and corporations to thrive. We come together to share moments over a meal. Food and the culinary tradition is relevant and unique in every home, for some it is home.

Following model #1 : Chicken Layer Farm, I took a closer look into the industrializa-tion of food production in the western world through the inside of a slaughterhouse. To satisfy our level of consumption in this world made up of mass production we’ve resorted to Fordian assembly lines complete with killing and torture devices to maximize the efficiency of disassembling an animal. The structures built and the conditions endured contrast so deeply to the comforting ideal of a shared meal in the warmth of home.

“What makes it fascinating are the machines and the sense of what’s doable, the human spirit of invention and organization, even at close quarters with horror and


insensitivity.” Nikolaus Geyrhalter, director of ‘Our Daily Bread’ 2005 With this piece what intrigued me is the relatively low imagery available as to what a slaughterhouse as a whole looks like. Since they are frequently under fire as to the conditions and practices involved inside, many have shut their doors to the public. Through pieced together images and video I have attempted to construct this extin-guishing rollercoaster of life, filling in the blanks with fantasy and imagination.

Some video clips to play:1) youtube.com/watch?v=bps-xbo8wnA - The Simpsons2) youtube.com/watch?v=mcacLHjw6PA - Our Daily Bread3) youtube.com/watch?v=KL2HZBJ37m0 - Our Daily Bread4) youtube.com/watch?v=BcwBH-WnlhM - Robert Wyatt „Pigs“

From left to right: Automatic Hog-Weighing Apparatus for Use in Packing Houses, 1869; Apparatus for Catching and Suspending Hogs, 1882;


STUDIO #8 > Angela Stauber–Germany

Der flüchtige MomentA series of drawings, pencil on paper, 16 x 20 cm

‘Der flüchtige Moment’ is a series of approximately 50 drawings that offer a glimpse into a rare and elusive moment. These drawings are of the places, people and things that I have found in the neighborhood around Thulestraße. The images reveal not only the subject but they reveal how I perceive and experience the world around me. These drawings have a quality that exists somewhere between the instant that can be captured in photographic images and the prolonged moment that can be drawn.

The pictures are of specific places and moments in time. They are perspectives of the streets and houses near Thulestraße, as well as portraits of the people who work in the neighborhood. There is a quality in the drawings that is both documentary and that evokes atmosphere. My pictures are about love, pain and the moment that slips constantly from within our grasp (impermanence). The drawings are about stillness, and about time – time which is lost, but also about living each moment to its fullest.

I have attempted in these drawings to unite place and time. The poetic arises. It is poetry about places which can be found everywhere but that are unique. Places can be documents of the past, but they can also be timeless, meaning there is noth-ing left of trends or fashion of any particular period. Trees in the wind are typical of Berlin, but they are also eternal or even sentimental images. These drawings are at once reproductions and interpretations. I ‘correct’ reality with my pencil. What I see, feel, receive becomes an image with a certain mystery. I don’t invent anything in my

From left to right: Baum, Harry and Mauerpark, 2011


pictures. I am in a constant dialog with what is around me. During this conversation, I feel like a filter, where what I see goes through and flows into the picture but comes out more clearly and sharpened. Everyday life, short moments impress me and traces of them remain in my pictures.

Alina, 2011


STUDIO #9 > Elske Rosenfeld–Germany

Pankow Farbtest (Die Rote Fahne III) Installation, various media

A few years ago I saw Felix Gmelin’s video piece Farbtest, Die Rote Fahne II, in an exhibition in Berlin. In it, the artist restages a film by Gerd Conrad from 1968, which shows runners carrying a large red flag through the streets of Berlin in a relay run, which ends with the final runner brandishing the flag from the balcony of the Schöneberger Rathaus – the city hall of West Berlin. One of the runners was Gmelin’s father, a radical filmmaker and theorist. In an almost identical re-shoot of the film in 2002 Gmelin has his students at the Stockholm art academy carry a red flag through the streets of Stockholm, where they also run towards and enter the city hall, but this time without the triumphant finale on the balcony.

Earlier this summer, I started looking for East German produced red flags on eBay and a number of other online shops, the online images of which later became the photo series Red Flag, Original GDR. I also went on to purchase some of them.

The flags are of different dimensions, some looking almost new, some faded, some used, some are made of cotton, but most of synthetic fibre. Further research reveals that all seem to have been produced at the VEB Bandtex Kombinat in the city of Pul-snitz in Saxony between 1980 and 1989.

As the flags arrive at my house in the post, the confrontation with their physical materiality brings back feelings of discomfort that I remember from when I grew up as young girl of dissident leanings in East Germany – and that I almost forgot I had.

I am startled to realise that I have a sense of ambiguity towards the pieces of fab-ric that I do not feel when seeing the flag in other contexts, such as Felix Gmelin’s powerful piece. To explore my confusion, I decide to take one of my eBay flags on a walk through the Pankow neighbourhood, where the HomeBase LAB is located. Serv-ing as an FDJ (socialist youth organisation) home for many years, the HomeBase LAB building was part of a topography of power that was at the heart of the East German socialist state apparatus, whose elites lived and worked in different Pankow neigh-bourhoods.

One block up from the compound, a typical East German Plattenbausiedlung (prefab public housing estate) – some of whose inhabitants will have lived there since it was built and through and past the demise of the East German state – extends north. To its west, on Majakowskiring, are the former homes of the Socialist Party leadership, among them Ulbricht, Pieck, Grothewohl and Honecker. Schloss Schönhausen, just


along from there, was the official seat of the President of the GDR until, in the winter of 1990, the Round Table of the GDR started holding most of the meetings of its short period of existence here, bringing together party officials and representatives of the oppositional movements, with whom I at the time identified. This would be the itiner-ary of my planned walk.

As I begin to think the project through, I wonder what it will mean to expose my East German made red flag at these particular sites, in this area. Will its presence be read as provocation or as a (welcome or misguided) show of support? Or will it, quite simply, be ignored? In taking my ambivalent relationship to the tainted symbol of the workers’ movement to the street, from the safety of my studio into the public realm, will I manage a confident stride, breaking maybe, occasionally, into a run, or will I steal through the streets quietly? And, in the absence of students or comrades to help, will I find other potential runners along the way or will I have to run the whole course by myself, alone?

Clockwise from top left: Red Flag, Original, GDR, I - IV Photo Series, 2011


STUDIO #10 > Todd Lester–USA

InterregnumBlog

Notes from an Ivory Tower - OsnabrueckLast night at the panel discussion Innovation, Collaboration & Human Rights during Correlations: Law, Language and Culture. Third International Osnabrück Summer School on the Cultural Study of the Law, I got to wax philosophically without having to use footnotes.

I mostly came away with more questions than answers, so if it looks like I am making a statement, make sure to add a question mark. So, here they are ... notes transcribed from the proverbial napkin:

- Cartoonists or cartoon journalists as the quintessential citizen journalists?- Even liberal, progressive journalists have better protection than artists doing the work of activists ... see a recent dispatch I included in a blog piece about Ai Weiwei where I begin to develop this idea.- What does the Arab Spring have to do with the London Summer or the Syrian Year (my terms)? Why do we accept the corporate media’s framing and packaging snippets of life as our narratives?- Culture is an object of control in the capitalist system.- Censorship is a tool of the status quo power system, and its form and the ‘member’ of power who activates it are always arbitrary ... its unpredictability is what makes it so dangerous. Beware of generic campaigns against censorship; look for unique and innovative responses to it, ones which are ‘site’ specific and respond in context.- The intricately woven threads of art, culture, and creativity are the patchwork uni-verse in which [the vocations of] media and communication exist ... not vice versa.- Is art ever elite or is it the institutions, which are the vehicles whereby one audience is privileged over others?- Can ‘art for social change’ as a construct transcend agitprop art in a western con-text?- ‘Art for art sake’ vs. communitarian art as a false dichotomy that is oft foisted upon the artist ... if forced to choose one or the other, artists oft react strongly. I think part of the strong reaction is dissatisfaction with having to choose. What is a less false multiplicity? Do artists do the work of activists (or community organizers) in a more fluid way that may never be in opposition to aesthetic, but only have time constraints which can retrospectively be equated with standards of quality (by the critic)? In one of his essays, Africa and Her Writers, Achebe puts it very bluntly that , “art for art’s


sake is just another piece of deodorized dog-shit” ... here, I think Achebe is confront-ed with the false dichotomy.- What does this have to do with the professionalization of activism? Whereas artists do sometimes see themselves as activists, would they ever see themselves in the more narrowly defined construct of a human rights defender? And, if they needed the protection and support that human rights defenders can (barely) rely on in times of unrest and danger, would they have the time to articulate how their work was intend-ed and/or seen as political, and thus led to their danger? If a tree falls in the forest and no one is there to listen, does it actually make a sound?- What is political art? In this context, I equate danger with activism and activism with challenging power. And, I don’t necessarily think it matters whether the artist intended her/his work as a challenge to power. This goes back to the arbitrary nature of censorship I spoke of above.- In following, I would never want to force the artist to self-identify as an activist.- I like to think that artists and activists (who can often be the same people wear-ing two different hats) are concerned citizens ... and that art nor activism are purely vocational.

I wish I could be in Berlin right now with the HB Build folks ... I hope this is worth a read.

PS, the picture I start with is by Kianoush Ramezani, Iranian cartoonist and chronicler of the Green Movement. I’m trying to get Kianoush to join the HB Build cohort some-time in September. I love this cartoon b/c I secretly think he was drawing a picture of me!

Creative ChangeI just got back from a meeting in Utah called Crea-tive Change, which was convened by the Opportu-nity Agenda. This was a retreat for the purpose of examining and strengthening ideas/initiatives at the intersection of arts, activism and social justice. These meetings at which you can meet artists, poli-cymakers, intellectuals, etc are usually very fertile periods of thought for me. Herewith, I’ll share some of the thoughts I had during the past week:

I think that creativity & culture are often diminished to ‘art’ and then bumped from the agendas of major dialogues, such as environment & sustainability, human mo-bility, resource consumption, conflict transformation, etc. Furthermore, I argue that there is an artificial barrier between art and the other sectors (vis a vis funding structures), especially those for which art/culture is most powerful when applied to in the process of social change. This doesn’t happen because funding structures and their representatives seek to obstruct social change; moreover, it is a characteristic


of capitalism that has to be acknowledged and planned for in the process of social change. In following, here are some questions I feel are important:

- What are the openings / puncture points for art actions to have social effects?- As art for social change (a4sc) gains currency as a byline, who will curate it? And is a4sc necessarily public art?- Can we expect artists to continue fueling social movements with their creativity if they are expected to sacrifice time/energy/expertise and often aren’t protected legally in the consensus process of social change?

Social Practice, Social Justice & the role of the Artist ResidencyOn Sunday, October 2nd, I will participate in a panel discus-sion with the HomeBase Project’s founder, Anat Litwin on the general topic of artistic activism. This past week in NYC, I’ve been involved in a few such discussions and realize that the terms ‘artistic activism’ and ‘art for social change’ can mean so many different things. So, I’ve decided to try and narrow the scope of my input on Sunday to these ideas:

- My role as a virtual resident blogging in from NYC during HomeBase V in Berlin- What’s the difference between social practice and social justice?- And pertaining to that, offer a critical read on the state of the artist residency sec-tor.

I recently met someone who is going to create an artist residency within six ‘locals’ of a large national union in the US. She asked me - off the top of my head - what is the most important thing to consider when making / programming a residency. I had to think quick ... and here is what came out of my mouth:I don’t think there is a valid argument for robust artist mobility (w/ residency as the vehicle) unless it is in the context of social change. If it is simply seen as a vocational entitlement, other vocations or people won’t understand or care.

I blogged this to the online community of the International Coalition for Arts, Human Rights and Social Justice and got a little push back ... so, I start off that statement and attempt to better explain my beliefs on the topic in longer form and with relation to the new HomeBase Lab in Berlin.

PS, Take a look at an exciting project in Sao Paulo that I’m involved in called Encamp-ment Ersilia with the artists Swoon and Paula Segal ... AND, and, & keep an eye on the advance blog of a conference that I’ve helped to plan w/ the Triangle Network called Networked: Dialogue & Exchange in the Global Art Ecology, which takes place in London, November 26-27.


STUDIO #11> David Fire–Israel

Music fills up the worldSound installation and live performances by David Fire & guests

This is another step in my bigger project - the annihilation of dualisms and return to holism, ism ism or pulling the red long carpet beneath the feet of the analytical minds with all their distinctions. Being here in Germany, where analysis, embedded in a rule based society, seems to be the only weapon against the chaos, the unpredictable, the uncontrollable, that is threatening out there. But why weapon? Why should we use the terminology of war? Why can’t we be part of the chaos, as we surely are whether we like it or not? Why the distinction between in and out, nature and human, home and out-there?

Well, we simply live in a dualistic society partying constantly on the notion of body and soul, me and the others, in and out, home and the street. Sometimes it seems to me that western culture set the goal of splicing the world into two, just for the joy of merging it back later, but as my polish grandmother said when I parted from my girl-friend and came back together with her- ‘a broken vase can be glued but it will always remain broken.’ In fact there is no innocence here. The west spliced the world in order to gain power. Under the golden rule of all blood shedding heroes of Europe- divide to rule. Don’t get me wrong- I don’t think that Asia has the truth, that Buddhist holism is truer than the Cartesian view of the world. I just see different types of human- one that eats a lot of meat, red meat, and wants to control others out of sheer hunger for power, and another that eats less meat and wants to find accord with nature instead of controlling it and destroying it in the process.

If the goal of wisdom is power – the West wins. If it is happiness – big looser. As for truth - if you agree that it is an accord between mind and nature, than you will agree that truth must lie in joy and not in power.

I do my contribution with tiny bites of the cake of dualism I have but my mouth with my teeth to bite with. In Africa I have studied percussion within a tribe that has but one word to describe both movement, or dance, and music. Please refrain from think-ing that they are merely primitive with limited vocabulary, as physics supports their unification of the terms. Indeed sound IS movement, and there cannot be any sound without something moving, a speaker membrane, a string vibrating, the stars in their grooves. Moreover there is no movement that is silent.

Move your hand – it has a sound, but it’s too low for you to hear, because it’s too slow. The wave you’ve just produced can be heard perhaps by elephants, who have really big ears to hear the far away rumble of their own kind across the savanna. And


so I place a sensor that detects the visitors’ movements, and translates them into percussive behavior of robotic arms spread across the room. How many of us have daydreamed while moving their hands, imagining the orchestra responding, while listening to internal music? I want to make this come true. If you think that this is an easy way to avoid learning how to play, you are both right and wrong - for by doing this, music is reduced to a pure intuition, careless of technique, but responsive to your musicality, your intuitive motion. For still - if you are not musical, even if all you do is move your hand, it cannot sound good. Last word about the use of robotics instead of digital media type prepared sounds: this project goes out into the physical world. Computer music is leaving the digital domain, and is being projected back onto the physical objects, vibrating skins, metal and glass. The complexity of natural sound, of nature itself re-gains its value, its place. The human body itself is back in the picture, after it has been reduced to a finger on a mouse and an eye on the screen. My feeling is that this is the right direction to go when we think of future life with technology.


STUDIO #13> Michelle Leddon–UK

Recognition as an act of violence: The disintegration and reconstruction of the

soul in digital and non-digital space.Paper collages and digital installations

I came to the HomeBase LAB with the intent of working on a series of narrative col-lages in order to storyboard a text I wrote a few years ago. I wanted to examine and reinterpret the text in a new way. I had the impulse to use collage to create a sort of “collage board” in a narrative way. I felt the need to work in a medium that is sensual and tactile. Much of what I am doing is about exploring media and ways to mix media in an effort to unite my disparate impulses in the online and offline world. Life online, has created a need to find things in the physical world to connect to and touch. As a prose writer and filmmaker with an interest in new technological modes of expres-sion... collage seemed a natural outlet for this exploration... as it is in and of itself a mixed media form.

The first few collages I created to explore the text were symbolically rich but aestheti-cally lacking. After coming across several boxes of old paper from the GDR, some old identity documents and pictures at the Mauer Park Markt, I started to create more abstract works while experimenting with materials and developing a technique and subject matter. I looked at the Dadaist collages by Kurt Schwitters, Hannah Höch and others.

In the subsequent collages I created, I found that I was revealing unexpected, subtle and fractured narratives of the people in the photographs and history of the paper. Looking at art as an archeology of the past and a mystic interpretation of the future is something I would also like to do online with found digital files.

Over the last several weeks as I created more collages, I started to become more ag-gressive the canvas and began gluing and tearing the paper in a style reminiscent of Jacques Villeglé, an artist whose work another HomeBase LAB resident introduced me to. In Villeglé’s work, narrative elements overtake the abstraction and layers. I am currently exploring layering in collage and seeing what elements break through to create meaning.

I was also very influenced by a brief encounter with Natscha Stellmach at Preview Berlin a few weeks ago. Her collage ‘Stop the Barking Dog’ was on exhibit. In the col-lage there is a text that I really responded to. Now, I am beginning to go back to my


original intention and integrate the text I have written into the collages. So, for me, the process here at the HomeBase LAB has been delving into the construc-tion, reconstruction, deconstruction and interpretation of narrative through a series of abstract collages, with certain narrative elements that integrate text and move from the physical world of collage into the world of video in an effort to find a mixed media solution to expression. For our open house, I will create an electronic presenta-tion of my collages with random associated excerpts of text.

CABARETI am also working with other artists at the HomeBase LAB to put together a cabaret (what some might call a collage of performance art) titled Goodbye, New York. It is a reference to Isherwood’s book Goodbye Berlin and is a political piece comparing and contrasting the Weimar era in Berlin and Germany with the post 9/11 world of New York City. The cabaret is an exploration and attempt at integration of my various life and artistic experiences. The cabaret is a work-in-progess and we will be showing excerpts of that, which include the process.

SOCIAL MEDIATwitter: I am also working on a half-promotional half-artistic installation on Twitter... creating a Twitter Stream that attempts to look at social media as an art form and as a promotional tool. SCREENINGSI have also co-coordinated a screening of short films with Elske Rosenfeld on the topic of home in the Eastern block during the red years. The series has been curated by a Hungarian filmmaker and film enthusiast.


STUDIO #14> Kate Fulton–Australia

Casting The Weight Of ShadowsRemoving definition, adding weight, reconsidering accents, introducing Light fall-off and one’s personal reminder.

When does our longing for the security of belonging transform itself into the actual act of fortification? Consider the marks and impressions that fabrics leave on your face while you are asleep. This new installation of work is an attempt to represent the enduring heaviness felt beneath the surface of the present.

When we become locked into our own existence and find there is no longer the pos-sibility for opening, we are restricted by our own stride and unable to see beyond the structure – of that which we are defined by and find ourselves within.

Creating an interior of framed compositions and sights embedded into a dense weight of permanence.

Absorbing reason and certainty.These sights are moments without address.

This heaviness is the weight that comes with time and is formed from impressions of the past remaining in the present, carrying the ‘wait’ of concerns for building some-thing secure. In parts, I am considering: the processes in belonging and the meaning

From left: Rotkäppchen Taschentuch - Little Red Riding Hood; Reconsidering the Accents of ‘Ground Fleeting. and stuck’, 2011


of permanence, concealed existences, the removal of definition and discard of defin-ing characteristics, the loss of focus, certainty and details in the founding of under-standing, shifts in perspective, and hidden indicators that allow one to locate them-selves or decline. Representing a place maintained for withholding, whose function has long passed and now exists only to remain sealed, locked, eternally closed, roads travelled beyond opening.

Identifying the shadows that reflect the ‘wait’ of what we carry and define our ‘pres-ence.’ Necessarily, attached to the real, shadows cast in the past remain in this ‘pres-ence’ whilst that which was attached to them disappears.

Locating the imperceptible presence of an internal physical obstruction, resulting in optical vignetting and the creation of an abrupt transition with unintentional darken-ing of the image corners.

From the discarded personal beacon – the Red Riding Hood Fire Hydrant holder, hangs an age-old narrative of loss, fear, warning and hope – reminding us not to turn back, and equally – not to forget the path from where we have come.

Moments without Address, 2011


STUDIO #16> Alina Shmukler–Ukraine/Israel

Sort of a FamilyPaintings

Oil as a material has a great part in my work. It is the classical material which contains a historical collective memory and meaning. For me it symbolizes the history, the time that is passing and the layers that time creates and covers at the same time. Oil maintains the memory of layers. In my recent work, “Sort of a Family” made at the HomeBase LAB, I’m dealing with the question of the meaning of home, and for me the deepest meaning of it is family, a sort of. It’s my chosen random and well-selected family at the same time. In these paintings I’m trying to collage a family tree, as a reflection of my own life. Some portraits are inspired by friends, some by random people and some are imaginary.


STUDIO #18> Anat Litwin–USA/Israel

Black Forest and Champagne / Mount Carmel is burning

Installation

The Black Forest – an unknown territory of wild life, beauty, transcendence, mystery and desire. As an archetype of paradise lost or found – A place where one can glimpse at the marvels of nature, at the pitfalls of self, at a party of nymphs and sprites all run-ning around naked.

The Black Forest (Schwarzwald) – a dense mountain range set in southwestern Ger-many with its iconic imagery of fortifying pines in the Winter covered in white.

The Black Forest – a nightmare, a site of crime, a place of exile. Trees filled with parti-sans, refugees of genocide - mankind’s darkest night looming.

The Black Forest – Mount Carmel my home town, Haifa, charcoaled after a four-day fire. The blaze consumed the lives of 44 people, burning more than 4 million trees which were planted several decades ago by Zionists who dreamed of re-creating a new green homeland. Mount Carmel – according to The Bible a sacred place where prophet Elija built an altar and asking God to send down a sign in the form of fire.

The Black Forest – a baked cake – layers of rich chocolate and cherry liquor, served to the sound of clinging champagne glasses served in private homes of the elites. The decadence of a good life, the indulgence of celebration, the silky smoothness of sugar and cream, ensconced in the bourgeois Berlin cultural scene.

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Bringing home an inverted, Black Forest as a juxtaposition of nature and culture, of wild life and domesticity, a phantom of the past and an acuity towards the future. The white branches, like trophies or ghosts penetrating the space, are like haunt-ing reminders of burned bonds to the past - the shedding of longing and unfulfilled desire.

In this room, an in-between space linking my two ‘hometowns,’ Haifa and Berlin, I am both a witness and performer of a processes of galvanization echoing a reconciled, a semi sober version of Eden behind closed doors.



HOMEBASE BUILD

MICROCOSM / COM-

MUNITYHB Microcosm dedicated to reflect on the shared and

communal activities of the artists, and their experi-ences drawn from living as members of the “Home-

Base LAB microcosm”.

– HomeBase BUILD Microcosm / Community –

Kate FultonMy communal project has been ‘the art of life’ – die Kunst zu leben. Taking care of our waste, the leftovers and remains which have become impossibly hard or unpalat-ably soft, the forgotten, rotten, unwanted/discarded ends, beginnings and strange in betweens, roots, outer skins and forgotten seeds. Acknowledging the organic ‘mat-ters’ and providing the time, warmth, air, water and commitment necessary for the processes of daily life to naturally unfold. Allowing a moment to step outside myself, in order to enter the neighbouring moments that border HomeBase LAB, to collect leaves and bring balance to our Kunstkompost. Witness to the immense creation of waste in our consumption and the potential for its evolution into an invaluable source of nourishment in our process of living.

Adrian BrunRice is born in water and dies in wine as the Italian say. Since somehow I must admit I can relate myself to this fact, I hereby like to share with you the most exquisite risotto I’ve ever had. Try out this amazing recipe of a very unusual one. You won’t regret it.

Risotto alle Fragole 150 g/ 5,3 oz fresh strawberries1 big leek1 glass of white dry wine400 g/14 oz risotto 1500 ml/ 6,3 cups light not too salt stock, chicken.A big knob of butter100 gr freshly grated Parmesan cheese.2 tbsp heavy cream

- Cut the strawberries in small pieces and put them in a bowl.- Chop the leek into fine pieces.- Bring chicken stock to a boil over low heat.- Melt the butter in a pan and add the chopped leek. Stir for a couple of minutes.- Add the strawberries and stir for 2 minutes.- Add the wine and stir until absorbed.- Add the risotto rice and stir for 1 or 2 minutes.- Start adding the stock, one ladle at the time, stirring until the liquid is absorbed and then add another ladle. - Keep on doing it until the rice is cooked but still a little al dente, add the heavy cream and the grated Parmesan cheese, stir and turn the heat off. Cover and let it rest for about 5 minutes.

And Guten Appetit !


Angela StauberSome memories and thoughts.

When I first went to the workshop at our neighbours from GAB and asked if I could draw some of the people there I had an interesting conversation about art. Someone said, that art should be something to enrich human beings emotionally. He also added that this can only be achieved through an understanding of the respective technique or craft an artist uses. I had to smile. Well, a very academic approach from someone who comes from the working class, unemployed over many years and far from what we would call educated.

Someone in the arts today would not naturally mention technique as an important element in making good art. This neighbour also said that taste is important – either you like a piece of work or not. Of course there is more, but we didn’t discuss that. Then some of the neighbours from GAB suggested that I start drawing people in the streets, like the artists in Montparnasse do. I told them that I would think about it, knowing that I would either ruin or begin my art career this way. I am not sure that I had any effect on the neighbours and their ideas about art, but they made me think about (my) art more than I had anticipated that they would. ...When I listened to a typical German radio broadcast once with David, he said that people want to listen to mainstream music because somehow it moves them. This made me rethink the ideas of what is considered ‘high art’ and what is considered ‘low art’. Can we, in fact, define what quality art is? Yes, I think so. Through my art I want to touch people no matter who they are or where they come from.…When I drew H., I quickly realized that he enjoyed it. I did too. He was one of the best ‘models’ I have ever found. He was sweet and crazy, vulnerable and tough. And he had a weird expression in his eyes. He kept telling me stories from his life which reminded me a lot of Alfred Döblins’ ‘Berlin Alexanderplatz’. We had a good conversation; the intensity of my looks and the brutality or even esprit of his stories flowed back and forth between us. We were both focused, me on my drawing and he on maintaining his pose. What came from this are some of the most ‘present’ drawings I have made. A good portrait is a great deal like a good dialogue between people.

Bas KoolsIn conversation with HomeBase, in conversation with Anat Litwin, exchanging, re-flecting together in search of the values of HomeBase to connect them to a practical framework and future of the project. This process mainly taking place in the Home-Base think-thank room is a bubble where thought is being deepened, where next to the development of the HomeBase business plan, topics like what it takes to live together, our relation to the art world and our neighbours are being processed and developed. For some questions we had we now have answers, for some other ques-tions have taken their place. In this room an organisational structure and strategy has


grown ready to become part of the world, to contribute in its own way to the devel-opment and continuation about the notion of home and identity in contemporary society. Together with the HomeBase team the basis has been built for HomeBase to be a place to live and work, for there to be in a community that shares and inspires. With its feet in the local neighbourhood, hands in the art world and its head in clouds of shared knowledge HomeBase is a new model for contemporary art and artistic research.

Elske RosenfeldMeet the Neighbours

Can we speak of the HomeBase building as part of community, a family of buildings that map out a topography of a past? And if so, which other buildings in the area belong to this bedraggled family? The district of Pankow in the North East of Berlin, is know, of course, for housing the former living quarters of the better-off, the East German elites, as well as Schönhausen Castle, the seat of the East German president, and the embassy quarter of the former GDR. It describes a nexus of power that was concentrated in this area. The HomeBase building, as a former FDJ youth associa-tion home, undoubtedly was a part of this and part of the social and political project whose main proponents and beneficiaries lived and worked here. But must the former FDJ building not also be understood within its equally intimate relationship with those parts of the organisation’s supposed charges that it strove hard, relentlessly to expunge from itself? Consumed with paranoia, as most of the ruling sectors of East German society had increasingly become, the organisation repressed and spat out anything that could not be contained within the paternalistic pedagogical effort of the socialist state towards its youth. Today spatial and archival remnants of these rejected and excluded scenes are forming a happy triangle around the HomeBase

“Planlos”, Ostberlin 1981 Courtesy of Archiv SUBstitut


building in the neighbouring areas. Closest – just down the street – is Ex.Oriente.Lux, the “Experimental Film Archive East”, that gathers films by (mostly young) East Ger-man artists produced in the late 70ies and 80ies. Experimental film or (the recording of) performance, like most art forms, developed in agonised communication with the officially imposed demands for their ideological legibility and social relevance, which they anxiously tried to resist and elude. A few blocks south into Prenzlauer Berg, on Schliemannstraße, is the archive of the East German opposition – named after Robert Havemann, a communist party member and one of its earliest and most prominent critics who was subsequently expelled and placed under house arrest. The archive contains documents from the peace and environmental movements and as well as the civil rights movements that formed in the late 80ies and whose demands for a more democratic socialism paved the way for the events of 1989. Finally, a new addition to this landscape is the Punk Archive, Substitut, a little to the north, providing private and professional documents and materials from the sub- and counter cultures of East Germany.

All three of these archives tell stories that exceed and unsettle simplifying narratives about the GDR that all to often belie the complexity and contradictions of its lived re-alities. Nor can their documents and artefacts be recuperated into a reading of history that effects a comfortably clear separation between any “us” and “them”, “ideology” and “free expression”, “individual freedom” and “oppressive state”. I think of my work at HomeBase as an invitation to explore the East German past of the building within the context of this political, historical neighbourhood. Inexorably bound up with a history that is increasingly absent from they ways in which Berlin perceives it-self and is perceived, all of these sites, in their conflictual, but close interrelatedness, are all equally on the periphery today. http://ex-oriente-lux.netGlashaus e.V.Caligariplatz/Prenzlauer Promenade 313086 Berlin-Weissensee

http://www.havemann-gesellschaft.de/Robert-Havemann-Gesellschaft e.V.Archiv der DDR-OppositionSchliemannstrasse 2310437 Berlin

http://www.substitut.net/SubstitutDamerowstr. 313187 Berlin


David FireI wish I had more time to work in the garden with Miss Jen Morone. When I first saw her across the table I couldn’t believe that in this fragile butterfly lies the power and energy to lift 40kg of cement and dig 30cm at each stroke in a dry ground. But I recall once when Miss Morone sat next to me at lunch time, that I have felt without touching her the energy and strength that flows through this body. She bends without bending her knees. When she digs a ditch, her black hair, sharpened by these sparking green eyes, that may get dim in times of extreme exhaustion, this hair locked behind her neck jumps up and down as the shovel flies in the air.

Today we backed the mother of all cakes- cement cake in earth topped with grass, concealing a metal beam, a foundation for the hothouse. With God help she will finish this in time. This was true alchemy- the metamorphosis of the element of dryness as it touches the element of wetness. As Aristotle puts it: “I have travelled a lot - and behold - wherever I found life I have found wetness too..and so I conclude that water is life”- and behold- as the water touches this bone dust, these dry ashes called ce-ment, it springs to life in a breathtaking metamorphosis, which you can control with adding more powder or water as you go. Pouring it into the hole in the ground is like a joy within a joy. But let me tell you - as you collect the soil that was put away to make room for the cement - you realize the true reality of our lives: for the cement, this somewhat artificial matter, goes into your nostrils and choke you as soon as you touch it, while the soil is worm and perfectly balanced and goes with no pain into the bucket. And so one may see the exact way we travel as we depart form the natural into the artificial.

Isabelle Gelot“ONE FOR ALL AND ALL FOR ONE”

“Epic Calendar”, Chinese ink on cardboard.I wake up, hearing the wind blowing in the tree branches. Nature sometimes seems to be alive, to tell you a story. I can see the giant arms struggling against the forces of the gust, and letting go in a lullaby of quivering leaves. I feel high above, as in a tree house, safe and in full awareness of being here at this precise moment. The eyelid makes an attempt to open, and I see the trees again, black and white, shaping shadows on the back wall of my studio. This is the sound of HomeBase the sound that reminds me I am here, I am ready. In the kitchen the coffee machine is already at work, like a steam engine, and I hear whispers down the corridor. Soon, I know that the hor-net will start its hive of activity, doors will slam, cupboards will open, music will come out, and the community will be awaken.

Precious moments surprise me everyday, moments I want to grab, seal in a bubble that would fly but always stay around me, moment I could touch and caress whenever I want. Smells evaporating, floating, invading the air; that I want to keep safe in my lungs. Noises bursting, soft or violent, sudden or lasting, sometimes making me smile


with delight or jump out of my skin. These sudden bursts remind me that I am alive; and that I am surrounded, like wrapped in a delicious warm shawl. The particularity here, is that there is always something new happening, an exploration to do, a flavor to taste, a sound to share, a word to spread. As a place which was created in order to maintain inspiration, to make every possible instant favorable to creativity. Yes, I feel ready, ready to grasp those colors floating in the air and spread them around me. How a space can possess this power, I can not explain, I can only feel. I feel the constant excitement inside of me, I feel the thirst of creating, I feel the evolution of my work in unexpected tracks, I feel the need to share and exchange, and most of all I feel in every part of my body, the desire to be here, to possess full conscience of being here, now. I want to recall this desire, to be able to re-create this state of mind. As cook-ing a recipe I wish to comprehend the ingredients, to learn how to use them, mix and improve their flavor. The base of living and working as a community, is a complete challenge. A challenge emotionally and a challenge that you create for yourself. Like musketeers, “one for all and all for one”, we pursue our goals, we follow our instincts and fights for our aspirations. As a group of companions, we share ideas, we teach and learn, we reveal and expose our emotions, our intimacy. Through the “epic calendar”, I decided to grab a fragment of each day spent here from my arrival. First writing our adventures, and then choosing precious moments, sometimes very simple; but the ones which escape from the depths of our memories, the ones which would make a legend become reality, the ones behind the stage, in the intimacy off stage, of an ac-tor removing his make up, taking off the mask.

What happens behind closed doors? Regardless the boundaries that society incul-cates, how do you show the unofficial, the process, the magical of common actions? I developed a graphic language, identical for each day, as an alphabet where each letters could represent an emotion, and putting all the day together, catching those

Epic Calendar Montage, 2011


special moments, I am telling our story here at HomeBase, behind our artistic selves, and behind the structure. As a Greek vase would tell Ulysse’s story, my calendar is telling the epic story of us, musketeers. 55 days, brought together, each day as an element to a bigger picture.

Jennifer Moronedas GEWÄCHSHAUSCHEN

the Little Growing HouseWäschen – to grow, sprout, increase, prosper

Like a candle set in the window the Gewächshauschen will be the guiding light home, welcoming and inviting, providing a place for growth and prosperity through the harsh winter months. Built from found windows and taking place over the raft in the HomeBase garden this glowing glass house will be built in stages over the course of the year. This first stage being the initial outer construction. The following becom-ing more involved in the mechanisms of the growing capabilities through aquaponics, compost heating, rainwater catchment and water purification.

Construction of the HB greenhouse


Michelle LeddonMost of my communal work at HomeBase has been in learning the rhythms of the people here and my own. On a practical level, I have cleaned, cooked, edited other people’s papers, exchanged lessons, taught, baked cakes, sorted through boxes and carried things from one side of town to the other in the middle of the night. What I have learned from this residence is that creative people, working together over an ex-tended period to build something from the ground up, can, because of their creative energy and skills, pool that energy and those skills to accomplish things quicker and in a better way than someone working alone.

Over the course of my time here, I have brought several of my colleagues into my studio to help me improve my work: Angela’s dedication to technique through which we have access to her deeper passionate self has deeply impressed me... and made me rethink and work harder at technique. Kate taught me about how to conceive of, cor-rect and analyze visual art work. Elske helps me reconsider the political in art. Isabelle taught me how to interpret a text and break it down into its essential parts using key-words. Jenn has given me some important practical tools, while Anat has helped me leap big conceptual hurdles. Francesca, David and Adrian, in our most recent dinner, reminded me of what life was like in the dark, while Nikki and Vanessa have made life a great deal easier in doing what they do everyday.

Anat LitwinChicken SoupIngredients: 20 cups cold water, 8 bottom chicken quarters4 large carrots, cut to 2 . 5 “x. 5-inch pieces3 stalks celery, cut like carrots2 parsnips, cut like carrots1 turnip, cubed (bite-sized)2 large onions, cut in half1 bunch parsley (tied up)1 bunch dill (tied up) salt & pepper or chicken bouillon

Directions: Bring water to boil, add chicken, return to boil (covered). Add all vegetables except for parsley & dill and allow to cook on medium to low heat, uncovered, until reduced by about half (2-3 hours). You may skim during the cooking or refrigerate the finished soup and remove the solidified fat. Add parsley & dill and cook for 20 minutes, then remove the herbs and discard. Season soup with salt & pepper or bouillon powder to taste. If soup is too strong, add water. If it is too weak let it boil out longer (un-covered). Remove from heat and allow to cool. Remove the chicken and separate out the meat into bite sized pieces (shreds). Return the chicken pieces to the pot. Serve immediately or freeze.

– HomeBase BUILD Vocabulary –

> ACCUMULATION – Isabelle Gelot

> Black Forest – Anat Litwin

> BLIND STITCHING – Kate Fulton

> DIS-APPEARANCES – Francesca Romana Ciardi

> FAMILY – Alina Shmukler

> HOMESICK FOR 89 – Elske Rosenberg

> INNER LIGHT – Jennifer Morone

> MIRROR – Angela Stauber

> INITIATIVE – Bas Kools

> SILENCE – David Fire

> TONGUE – Adrian Brun


HOMEBASE BUILD

VOCABU-LARY

HomeBase Build Vocabulary – a set of key words and meanings inherent to the fabric of the notion of

home / HB LAB.


ACCUMULATION > Isabelle Gelot

Act of gathering or amassing, process of growing into a large amount or heap

collectionobsessionrepetitionaggregationaugmentationbuild-upgatheringgrowthmassstockstoremultiplicationassemblageaccretion increaseadditionagglomerationaggrandizementammassmentconglomerationenlargementincreaseintensification...

the accumulation, is what I consider a life time process. an accumulationof words since we learnt to talk, of images since our eyelids opened to the world, of sounds since our ears started their attentive work, of flavors since our palate started its exploration, of textures since our skin started to feel our surrounding, of places since we learnt how to walk, of movements since our body is growing,of emotions since we started to feel, of feelings since we started to love, of photography since the camera obscura was invented, of objects since we owned the purchasing power, of memories since years go by…

Accumulation is also an action, a scheme that we each follow in a different manner,


it is building ourselves along the time going by, like an imaginary friend holding our hands, it inhabits our inner self and our material self. The accumulation of a life time is an impossible rendering to make, to the exception of an accumulated accumulation of accumulative words. In HomeBase, we have built a two months accumulation, of ex-change, discoveries, processes, collaborations, objects, memories… As a fast forward process of initiating and building a home. It is through the accumulation that we could make thing happening, by multiplying the possibilities, opportunities, chances and then seizing the one that are worth developing, while documenting the whole proc-ess. Like bees accumulating materials, we built a hornet nest, its hive of activity kept alive at all times.

Black Forest> Anat Litwin

An unknown territory, a dense mountain range in southwest Germany, a nightmare, a charcoaled forest of mount carmel after a four day fire, a baked cake, an echo of Eden.

Anat Litwin, Black Forest and Champagne / Mount Carmel is burning, Installation, 2011


BLIND STITCHING> Kate Fulton

It’s a technique used for the creation of connections and adjustments with the inten-tion of being visible only from one side. The method is employed to attach lining and facing when the unnoticeable is required and strength is not necessary. Blind Stitch-ing can take a lot of practice and be tiring on the hands.

DIS-APPEARANCES> Francesca Romana Ciardi

....there were many in my overcrowded childhood, indiscernible but familiar enti-ties settled in what we called home, as part of what we called family. I never felt that there were such things as “home”, and “family”. If such things existed they were cer-tainly my enemies as I repeatedly tried to escape from them, until I could finally and legally do so at the age of 18. As an adult I found consolation in the words of Eugenio

Barba “My body is my country”. I also believe my body is my country. Its contours firmly map out my place in this world; each limb is an extension of my soul; its mobil-ity my freedom; its progressive decay my history, and its scars my predicaments and pain. My body is my home. It’s the only place I know.

FAMILY> Alina Shmukler

A family of choice.

Cleaning Tahrir, picture by @DannySeesIt, posted on twitpic


HOMESICK FOR 89(Or Revolution and the Importance of Sugary Tea)

> Elske RosenbergWhen I talk of my homesickness for the revolutionary period between the fall of the East German regime in 1989 and the installment of West German democracy, it is a homesickness, a longing, that marks a dogged adherence, a faithfulness to the experi-ence and the promise, the unrealized potential of that brief period of radical commu-nication and openness. But is there a more pragmatic, literal way in which revolution comes to be experienced and conducted as home? Tweets and messages taken from Egyptian friends’ twitter and facebook entries between January and February 2011 reveal the home making – the cleaning, entertaining, food making, health care, edu-cation, sleeping, protecting – that made up much of the day to day activities on Tahrir Square and later in the tent cities of Madrid’s Plaza del Sol and Tel Aviv’s Rothschild Boulevard.

M: selma was in alphe market today, says rich buying food for poor says its a cairo she does not know. In Tahrir filming Mohammed’s school he started in the square; he’s already enrolled 10 for Eng classes. They are doing poetry reading circles, stand up comedy performances, singing and dancing in Tahrir. URGENT TAHRIR: needs Alco-hol, Betadine (antiseptic), Water (mineral), Plastic gloves, garbage gloves, plastic dishes, cotton, any old tshirts, anti-biotics, painkillers, Shaash (gauze) People still sleeping around and und tanks near the Egyptian Museum to keep them from advanc-ing. Just come back from Tahrir Square. Peaceful demonstration. In my street the men have put in place barricades and formed defence committees against groups of thugs who are looting vulnerable property and suspected of being police. Spirits remain high.Food distribution point @ hardees midan tahrir. entry to midan thru kasr el nil bridge still good. People in kahwas despite gun shots. do you see how important sug-ary tea is?

INNER LIGHT> Jennifer Morone

Inner Light, Warmth, Cosy, Inviting

MIRROR> Angela Stauber

A mirror was the only thing I missed when I arrived at HomeBase. That showed me how dependent I am on reflecting myself. A mirror is not only an instrument which helps you fixing your hair but also something that can be understood symbolically. Fairy tales use mirrors, art history is full of paintings showing mirrors. You can recog-


nize yourself in a mirror, but what do you really see when you look at one? There is a need or wish during one’s life to recognize who you are. This urge to look for your identity comes from time to time and there are diverse possibilities to find out what your identity could be – or even how to build one. When we are together with other people – in a communal situation like at HomeBase – you can see yourself reflected in the others’ eyes. Everything is a response, consciously or subconsciously. What a great chance and a challenge. How to find out who I am and who are the others? There is a tendency to mirror each other. Children learn by imitating. We are only social beings because we understand in some way how to reflect or to react to each other. What do we want to see in a mirror? Do we have expectations? Do we want to see more than an optical reflection? Do we want to see something like ‘truth’ - whatever this can be?

INITIATIVE> Bas Kools

Initiative, it is a noun for which you need the verb initiate. How is ‘to initiate’ or ‘tak-ing initiative’ part of our consciousness? In every thing we do, every step we make, it creates the ability to take responsibility for yourself and for others. Initiative is about what you can be and the meaning you can give to situations, to have the power to act and to make change. A proactive approach towards situations in the world around you, to stand up and look around, to recognise and to activate. To create a beginning, starting to grow, to dare to have a vision and to, step by step, make it real.

SILENCE> David Fire

There is no such thing. Once I went into a pyramid in Egypt, I had 25 meters of rock from each side including up and down. Then I heard my heart beating and...yes, I heard the flow of blood in my veins. I chose the word ‘silence’ so that when it hangs on my door, it may serve also as a request to others - please be quite. I need quiet-ness. Once I started making music 15 years ago, I stopped listening to music at home. ‘Silence’ and ‘noise’ are my parallel as a musician to ‘home’ and ‘out-there’. To close the door for me is to shut the noise off. But that is indeed the hardest thing - for the noise will travel with you wherever you go. Silence doesn’t exist, and just like it - home doesn’t exist. I mean- it exists like other abstractions: infinity, zero.

TONGUE‘Same tongue, different language’

> Adrian BrunA mother tongue is the language(s) a person has learned from birth, or that a person


speaks the best and so is often the basis for sociolinguistic identity; it brings about the reflection and learning of successful social patterns of acting and speaking. It is basically responsible for differentiating the linguistic competence of acting. Lan-guages are like species; the metaphor is so common as developed into a misleading platitude. True the languages develop from parent languages from which they split,

and historical trees have been laboriously constructed by the joint efforts of linguists all over the world. But unlikely biological species, distant languages can interact, and even the most superficial of linguistic reflection revels that many grammatical constructions are shared by widely separated languages, although absent in closer relatives.

Languages are been learn and used all around the world, lots of them are about to extinguish. Nowadays we are aware of the rapid extinction of languages. As economic and cultural globalization and development continue to push forward, growing num-bers of languages will become endangered and eventually, extinct. Today’s people find it easier to communicate in the dominant languages of the world. Institutions such as the education system, forms of media such as the Internet, television, and print media play a significant role in the process of language loss. Cultural anthro-pologist Wade Davis points to the dangers of “modernization” and globalization as threats to indigenous cultures and languages throughout the world. He argues that just as these forces are eroding the biosphere, so too is the “ethnosphere” - the cul-tural web of life.



THE HOMEBASE LAB NEWSLETTER #1August - October 2011

©HomeBase Project 2011

THE HOMEBASE LABAddress: Thulestrasse 54, 13189 Berlin, Germany

Web: www.homebaseberlin.comEmail: [email protected]

THE NEWSLETTER CONTRIBUTORSHomeBase BUILD artists and team: Loudwig Van Ludens, Isabelle Gelot, Adrian Brun,

Bas Kools, Jennifer Morone, Angela Stauber, Elske Rosenfeld, David Fire, Michelle Leddon, Kate Fulton, Alina Shmukler, Anat Litwin, Todd Lester and Francesca Romana

Ciardi.

THE HOMEBASE BUILD RESIDENCY AND PROJECT IS CREATED BY

Anat Litwin, artistic director and founder, in collaboration with the HomeBase team and artists. Founded in NYC in 2006 as a grassroots, non-for-profit, artist-run project.

THE HOMEBASE NEWSLETTER TEAMEDITOR: Francesca Romana Ciardi

DESIGN: Bas Kools

SPECIAL THANKS TONikki Hendrikx - Coordinator of the HomeBase BUILD; Vanessa Macco - Media Intern; Creative Service Pankow; LRC Management, the Cultural Department of the The Israe-

li Embassy in Berlin and all the HomeBase LAB friends, supporters and volunteers.

HomeBase was founded in NYC in 2006 by artist and curator Anat Litwin as a grassroots, non-for-profit, artist-run project.

THE HOMEBASE PROJECT IS AN INTERNATIONAL, SITE-SPECIFIC URBAN ART

PROJECT EXPLORING THE NOTION OF HOME.

OPERATING IN THE INTERSECTION OF ART AND SOCIAL CHANGE, HOMEBASE SEEKS

TO FOSTER INTERCONNECTEDNESS IN SOCIETY THROUGH CONTEMPORARY ART, BY TRANSFORMING VACANT URBAN SITES INTO

FERTILE PLATFORMS OF CROSS-CULTURAL DIALOGUE, SOCIAL INTEGRATION, EDUCATION

AND COMMUNITY CULTIVATION.

THE DRIVING FORCE BEHIND THE PROJECT IS A GROWING GROUP OF OUTSTANDING

INTERNATIONAL ARTISTS, SCHOLARS AND SOCIAL ENTREPRENEURS, WHO TOGETHER

REFLECT ON HOME AS THE FOUNDATION OF HUMANITY. WITH A VISION OF A

HEALTHIER CONTEMPORARY SOCIETY, WHILE EXPERIMENTING IN MEANINGFUL URBAN

LIVING.

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